Evelino Pidò recieved his musical training at the Conservatoire in Turin and took courses for orchestral conducting at the Musikhochschule in Vienna. His international career began with the opening of the Three Worlds Festival in Melbourne with Madama Butterfly; it was followed by conducting engagements at the Sydney Opera House. In 1993 Evelino Pidò gave his debuts at the Santa Fe Festival in America, at the Los Angeles Opera and the Royal Opera House in London. Other engagements have taken him to the festival in Aix-en-Provence, at the Opéra Bastille in Paris, the Metropolitan Opera in New York, at the Théâtre des Champs-Elysées in Paris, the Opéra National de Lyon and the Grand Théâtre in Geneva. At the Royal Opera House, he conducted La cenerentola and Lucia di Lammermoor, at the Teatro Real La gioconda and at the Met La sonnambula. He collaborates with numerous renowned orchestras including the Royal Philharmonic Orchestra in London, the Orchestre de la Suisse Romande and many others. In 2011, he gave his debut at the Vienna State Opera with La Sonnambula. Further performances at the house on the ring include Anna Bolena, Roberto Devereux, Simon Boccanegra and Adriana Lecouvreur.
Juan Diego Flórez was born in Lima (Peru) and studied in his hometown as well as at the Curtis Institute in Philadelphia. In 1996, he gave his opera debut in Matilde di Shabran at the Rossini-Festival in Pesaro. Since then, the tenor is one of the most sought after singers of his style. He has celebrated triumphs in recent years among others at the Milan Scala, the New York Metropolitan Opera, the Royal Opera House Covent Garden, as well as in music centres like Paris, Florence, Bologna, Genua, Turin, Rome, San Francisco, Los Angeles, Chicago, Washington, Munich, Barcelona, Madrid and the Salzburger Festspielen. Since 2001, Juan Diego Flórez has an exclusive contract with DECCA. Several of his recordings have one many prizes, and in addition, he has won numerous official rewards. Juan Diego Flórez gave his debut at the Wiener Staatsoper in 1999 as Conte d’Almaviva (Il barbiere di Siviglia) and has since also sung Rinuccio (Gianni Schicchi), Lindoro (L’italiana in Algeri), Arturo (I puritani), Elvino (La sonnambula), Tonio (La Fille du régiment) and Nemorino (L’elisir d’amore). He is an Austrian Chamber singer.
Paolo Rumetz began studying vocal arts in his hometown Trieste and perfected his skills in Munich with Josef Metternich and in Rome with Renato Guelfi. Paolo Rumetz made his debut in Cimarosa´s Il Maestro di Cappella in Spoleto. In 1988 his first appearance at the Teatro Verdi in Trieste in Strauss’ Ariadne auf Naxos followed. Since then, Paolo Rumetz has regularly been engaged in London, Pisa, Lucca, Prague, Macerata, Venice, Ravenna, Verona, Turin, Tokyo, at La Scala in Milan, in Barcelona, Zurich, Leipzig, Florence. Paolo Rumetz’s repertoire includes roles such as Enrico in Donizetti´s Lucia di Lammermoor, Sharpless in Puccini´s Madama Butterfly, Alberich in Wagner´s Das Rheingold, Doktor Dulcamara in Donizetti´s L’elisir d’amore, Sulpice in Donizetti´s La Fille du regiment, David in Mascagni´s L’amico Fritz, Don Geronio in Rossini´s Il turco in Italia, the title role in Verdi´s Falstaff, Don Bartolo in Rossini´s Il barbiere di Siviglia, Jago in Verdi´s Otello, Graf Gil in Ermanno Wolf-Ferrari´s Il segreto di Susanna, Fra Melitone in Verdi´s La forza del destino, Taddeo in Rossini´s L’italiana in Algeri.
Margarita Gritskova was born in 1987 in St. Petersburg. Aside from singing, she also learned piano in her homwtown, and later studied in the St. Petersburg Conservatoire. She is a prizewinner of numerous competitions, among others the Luciano Pavarotti-Competiton in Modena and the Concurso Internacional de Canto Villa de Colmenar in Spain. In 2010, she was a finalist at the Operalia Competition. Margarita Gritskova washeard among others singing under the direction of Mariss Janson in St. Petersburg; as well as at the Festival de Ópera de Tenerife in Salome and Cherubino at the Sommerfestival in St. Moritz, as well as Rosina at the Hungarian Staatsoper and Olga at the Opera de Quebec. In 2009/2010, Margarita Gritskova was a member of the ensemble of the National Theatre Weimar, where she sang parts like Cherubino, Flora, Maddalena, Ottone, Bradamante, Marthe, Carmen and Olga. At the Wiener Staatsoper, where she is an ensemblemember, she made her debut in 2012 as Tebaldo (Don Carlo) and has also sung among others Fjodor, Cherubino (Japan-Guest performance of the Wiener Staatsoper), Dryade, Tisbe, Bersi, Rosina, Dorabella and Angelina.
SORIN COLIBAN was born in Bucharest and studied there at the Academy of Music. He sang at the ROH Covent Garden, the Paris Opera, in Athens, San Francisco, Santiago de Chile, Tel Aviv, at the Rossini Festival in Pesaro, the Bayerische Staatsoper, at the Vienna Festival, the Bregenz Festival and the Wiener Volksoper, to only name a few. His repertoire includes parts such as Philipp II. (Don Carlo), Fiesco (Simon Boccanegra), Procida (Vêpres siciliennes), Ramfis (Aida), Ferrando (Il trovatore), Banquo (Macbeth), Don Giovanni, Leporello and Il Commendatore (Don Giovanni), Sarastro (Die Zauberflöte), Guglielmo (Così fan tutte), Lord Sidney (Il viaggio a Reims), Holländer (Der fliegende Holländer). He made his debut at the Wiener Staatsoper in 2004 as Monterone (Rigoletto) and also sang the Grand Inquisiteur (Don Carlos), Landgraf (Tannhäuser), Basilio (Il barbiere di Siviglia), Capulet (Romeo et Juliette), Fra Melitone (La forza del destino), Fasolt (Das Rheingold), Bartolo (Le nozze di Figaro), Colline (La Bohème).
RAFAEL FINGERLOS was born in Tamsweg (Salzburg) and completed his solo vocal training in 2013 at the Konservatorium Wien with honours. The baritone is a prizewinner of national and international competitions. In summer 2010, he sang at the Teatro Barocco festival in Altenburg the leading role in Michael Haydn’s Der Bassgeiger zu Wörgl. In 2015, he took part in the Young Singers Project at the Salzburg Festival, and in summer 2016 he will work at the Salzburg Festival in the premiere of Thomas Adès’ The exterminating angel. In february 2016, he gave his debut as Papageno at the Dresden Semperoper, in autumn 2016 he will tour as Harlekin (Ariadne auf Naxos) with the Nationale Reisopera through the netherlands. In 2017 he will give his debut at the Bregenz Festival as Moralès (Carmen), and in 2018 in Zimmerman's Soldaten at the Teatro real in Madrid. Lied and concerts play a central role in his artistic ability. From the 2016/2017 season, he is an ensemble member of the Wiener Staatsoper.
Act 1 In front of Dr. Bartolo’s house. count Almaviva has hired some musicians to serenade his beloved Rosina, Dr. Bartolo’s niece. But Rosina fails to appear at her window so the count can only pay off the musicians and send them home. Presently the count encounters Figaro, the local barber and general factotum. Recognising the barber as having formerly been in his employment the count tells him of his passion for Rosina and by promises of a rich reward secures Figaro’s valuable services. Figaro has a brilliant idea to introduce the count into Bartolo’s house: rooms in Seville are being requisitioned for the army so all the count has to do is to dress up as a soldier and claim accommodation. In her room Rosina is writing a letter to the young cavalier, apparently called Lindoro, who is so ardently wooing her; Figaro agrees to deliver it but is prevented by the sudden arrival of Dr. Bartolo and Rosina’s music-master Basilio. Bartolo, who is also Rosina’s guardian, admits to Basilio that he has hopes of making her his wife as well as his ward. Meanwhile Figaro’s plan is put into action: Almaviva enters disguised as a drunken soldier, creates a scene, and obstreperously demands a night’s lodging, managing to exchange a furtive word or two with Rosina during the commotion. Dr. Bartolo calls the police to have him thrown out, whereupon the intruder reveals his identity and the Act ends in complete confusion. Act 2 A young music-teacher reports at Dr. Bartolo’s house saying he has been sent by Basilio who is ill, to give Rosina her singing lesson. It is of course Almaviva in disguise. But Doctor Bartolo smells a rat and insists on being present at the “singing lesson”. To distract Bartolo’s attention Figaro forcibly shaves him while keeping up a running fire of conversation under cover of which Rosina and Almaviva plan an elopement. All is going smoothly when unfortunately Basilio turns up, and it is all Figaro’s powers of persuasion and the count’s purse can do to hustle him off the premises before he has time to give the whole scheme away. Eventually however Bartolo does find out about the planned elopement, so after poisoning Rosina’s mind against her suitor he presses his own suit more urgently than ever; and Rosina, to spite her lover’s apparent inconstancy,agrees to marry Bartolo. Bartolo instructs his lawyer to bring the necessary documents for his marriage to Rosina, and goes to alert the police to arrest “Lindoro” as soon as he attemps to abduct Rosina. But the elements are on Almaviva’s side. Under cover of a thunderstorm, and conducted by Figaro, he makes his way into Bartolo’s house and reveals to Rosina that “Lindoro” and Almaviva are one and the same person. The lawyer Basilio sent for arrives in time to effect the marriage of Rosina and Almaviva, and by the time Dr. Bartolo returns from the police, all he can do is accept the situation with good grace.